We want to represent each of the
elements, and we need to do this
efficiently. We could just paint the
substrate and then add layers of
thin glazes to represent the colour
of the water. Te-di-ous. We want to
develop our gradation skills anyway,
and it is much easier to paint
the substrate (sand for example)
and create the illusion of differing
depths with a gradation of colour.
To do this we'll scoop up a large
amount of a mixture of this colour, and
with a large-ish chisel brush (ie size
10 or bigger), do a gradation down
the canvas, each time adding more
Cadmium Yellow Light and White to
your mix. To create the appearance
of very shallow water, I added a
tiny touch of Dioxazine Purple to a
mixture that is predominantly White,
with a bit of Cadmium Yellow Light.
Use lots of paint and lay it down
with a "crosshatch" motion, one
change of colour roughly blending
into the next. Use a soft touch and
the tip of the brush to soften the
transitions between the paint colours.
(See Fig 1. Gradation)
Preparing the canvas to this point
will reinforce a very important skill.
Painting a controlled gradation
of colour/s is something even
accomplished artists struggle with.Exercise Two:
Add some rocks under the
water. You’ll need:- Alizarin
- Pthalo Blue
- A very soft touch
- A very dry brush
You are now about to investigate
one of my favourite techniques. Dry
brushing is a very non-committal way
of introducing colours and elements.
Mix your colour. Take most of the
paint out of your brush (and I mean
most!), test it on your spare canvas
and make some roughly elliptical
marks. Start with small "touches" and
build as you go. As you come into
the shallow water, add a touch of
Burnt Umber and Cadmium Yellow
Medium to “shallowify” the rocks.
(See Fig 2 Rocks)Exercise Three:
The next part of this process is to
represent the refraction of light on
the substrate. This is not an easy
thing, however a technique I have
developed makes it easier. You
need to allow your brush to be
controlled in an uncontrolled way.
What the?! It will make sense!
Find a spare canvas to practice
this skill. Grab a small chisel brush
size 4 or 6 and load it with paint.
Make this pattern – you will need
to roll your brush between your
fingers whilst pushing it backwards
and forwards horizontally, creating
extremely loose & wobbly diamond
shapes. Allow the brush to make
its own way, to a certain extent.
(See Fig 3. Loose-Diamonds 2)
This represents the light which is
refracted by the surface of the water,
down onto the substrate. Be aware
that if you wish to create the illusion
of distance then you must adjust the
size of the "diamonds" as they recede
into the distance. Important – you
need to be aware also, when applying
this technique, the refraction will alter
colour as it goes into deeper water.
(See Fig 4. Loose-Diamonds-2)
When you have experimented with
this and feel comfortable with the
results, you can then apply this to
your exercise. This exercise requires a
certain amount of confidence with your
brush. Too much paint and you’ll end
up with large blobs. Not enough paint,
and you’ll lose the “strength”. Using the
same technique, add a little Cadmium
Yellow Medium to your Burnt Umber/
Alizarin/Pthalo Blue mix, and repeat this
exercise over the rocks, accentuating
this in the shallow water. This creates
the illusion of the refraction process
on the rocks as well as on the sand.
I love this technique, it’s so versatile.Fig 3. Loose-Diamonds 2
Fig 4. Loose-Diamonds
Mark It With A Brush